During my Fellowship in Stone Lithography I initially drew on the Dorset landscape close to my home for inspiration. As I worked with the stones I found myself ever more attached to one particular stone and turned my attention to creating work solely about that stone. In lithography I found the use of mutually repellent substances – oil and water – provided a perfect opportunity to explore what happens when opposites meet. And, because the image is built up in layers during the process, I wanted to push the business of building up those layers to the extreme. By manipulating the effects of light, colour, mark and composition, and combining them in various ways, I created a series of images that shared elements and yet were often unique. Although printmaking is usually a means of making multiples, what was more interesting to me was exploring variations. And what became more important than creating perfect repeats of a print was investigating the differences. As a result, very few of my prints are identical, none of my print runs are longer than six and most are shorter. Several are one-off. There is always a sense of great wonder when I am doing printmaking. Apparently such a controlled technique, there are so many variables and uncertainties – the pressure of the roller, the texture of the ink on any particular day, the moisture of the paper…all of these factors, and more, taught me to let go of my expectations, to be adaptable to the process and to remove my ‘self’.